Weaving together clips from relevant films, the video essay looks at the topic in relation to two different qualities of human experience which the ‘haunting melody’ tends to address in noir: the psychological on the one hand; the affective on the other.(Of course, psychology and affect are mutually informative elements of human experience, and certainly not so distinct as to prohibit the operations of one and the other at the same time.) Significantly, the essay draws inspiration from the work of Theodor Reik and his study, .They are essentially psychological narratives with the action—however violent or fast-paced—less significant than faces, gestures, words—than the truth of the characters, this “third dimension” I discussed a short while ago.
Weaving together clips from relevant films, the video essay looks at the topic in relation to two different qualities of human experience which the ‘haunting melody’ tends to address in noir: the psychological on the one hand; the affective on the other.Tags: Essay Language AcquisitionThe White Negro EssayNsf DissertationWriting A Personal Statement For CollegeThesis Of Black Men And Public Space By Brent StaplesWell Written Essay For CollegeDissertation Proquest
(Otto Preminger, 1944), where David Raksin’s intoxicating theme-tune becomes a haunting melody for the audience, plunging us into the content of a dream, just as the film’s detective protagonist is deliriously immersed in the mystery of the title character.The big French book on the subject of film noir was written, in 1955, by Raymond Borde and Étienne Chaumeton—two critics associated with the magazine The term “film noir” has come down to us as a product of a subordinate strain of French criticism, different from the one that came to dominate cinematic discourse with the concept of auteurism, as well as to dominate filmmaking itself through the innovations of the New Wave. (Though it would be interesting to try to trace the term in ’s curators to cite the simplest unifying factor in their series—the element of crime—that both predates the rise of film-noir style and, above all, that survives it.It had no currency among Hollywood filmmakers of the forties and fifties, for the simple reason that French criticism over-all had little influence in the U. I wrote here a few years ago about the genre, and I cited four factors that contributed to its rise: “the influence of German Expressionism, the liberating innovations of Orson Welles, the new importance of independent producers, and the probing of wartime traumas.” German filmmakers fleeing the Nazi regime, such as Lang, Preminger, Ulmer, Robert Siodmak, Max Ophuls, and Billy Wilder brought their shadowy, fragmented aesthetic to Hollywood.And then there’s the war, with its terrors and disruptions.The four movies that Nino Frank cites in his primordial 1946 essay are “The Maltese Falcon,” “Laura,” “Murder, My Sweet,” and “Double Indemnity.” All of them were made during the Second World War (though “The Maltese Falcon” was made in 1941, before the United States was involved in combat).It was rather that they believed in cinema’s twofold function: as an absorbing entertainment and as a potential force for good, not through reinforcing conventional morality but through its ability to expose corruption and injustice.They had seen at first hand the prewar struggles of European filmmakers to speak out against evil in their films, and felt that the new American crime films could represent the opportunity for a surreptitious continuation of that work within unashamedly entertainment films.—Truffaut, Godard, and company—didn’t care about at all: the politics and sociology of cinema, the cinema of social criticism.Ince in 1916, by John Ford in 1939, or by Clint Eastwood in 1992.The same is true of war films, comedies, and, yes, crime movies.The important point is to note its recurrence and the diversity with which the trope is deployed.‘Suffering In Rhythm’ is a meditation upon this trope and the range of potential meanings and affects it is invested with, both in classic noir narratives and in ‘modern’ noir narratives which, since the 1970s, have become far more self-conscious about such tropes and conventions.